Film & Television

  • COM FT 201: Screen Language: The Aesthetics, Grammar and Rhetoric of the Moving Image
    This course is designed to help students communicate through audio, still images and moving pictures. We will study how films and photographs of various kinds communicate ideas, tell stories, and convey artistic expression. Students will then be given many opportunities to demonstrate their own grasp of fundaments of communication and storytelling through images, sounds and montage. The aim of this course is not simply to reinforce existing rules but rather to test the validity of those norms. Accordingly, students will be asked both to employ and to violate conventions.
  • COM FT 250: Understanding Film
    Understanding Film will introduce students to key aesthetic aspects of film. Students will explore a range of styles and genres in film, including narrative and non-fiction forms, and dominant and alternative styles. Students will also study a variety of historical examples of theses different styles that illustrate the expressive possibilities of image and sound. Finally, students will learn to analyze and write about these formal elements, viewing both complete films and individual sequences.
  • COM FT 303: History of Television
    In this course we will examine the ways in which industrial factors and communication policies have shaped the medium that sits in 99% of U.S. homes. We will begin by examining television's roots in radio. The remainder of the course will be broken down into three stages of television history advanced by Rogers, Epstein and Reeves (2002). The first category is TVI- the period of three-network dominance. The next stage, TVII, is characterized by the rise of cable television and the decentering of the three networks. We will conclude the course by considering the current stage of television- TV III- in which the era of "on demand" has further destabilized traditional notions of content, audiences, producers, scheduling and technologies. In addition to tracing this development historically and thematically, we will confront it critically, analyzing the connections between power and money in the medium of television.
  • COM FT 304: Film Industry
    A survey of current business trends in the motion picture industry. Focuses on script development; studio structure; agents, attorneys, and contracts; independent filmmaking; and distribution.
  • COM FT 307: Media Evolution
  • COM FT 310: Storytelling for Film & Television
    Undergraduate Prerequisites: COM CO 201.
    Required of all undergraduate students in Film & Television. An introduction to the art and craft of storytelling through the moving image. Particular emphasis will be given to writing short scripts. Topics covered include character development and narrative structure as it applies to shorts, features and episodic television.
  • COM FT 325: Crtve Tv Produc
    This course description is currently under construction.
  • COM FT 353: Production 1
    This course description is currently under construction.
  • COM FT 401: Romantic Comedies and Melodramas
    Undergraduate Prerequisites: COM FT 360.
    This class will view and discuss romantic comedies and domestic melodramas made in Hollywood in the 1930's and 1940's. these films were some of the most popular and culturally significant of their time, involving many of the era's best screenwriters and directors and most prominent stars. The films set standards for dialogue writing, rich characterization, film performance and story structure.
  • COM FT 402: Production II-Digital
    Undergraduate Prerequisites: COM FT 353; With a B- or higher.
    Continuation of the study of digital field production and postproduction editing. Students develop, produce, direct, shoot, record, and edit longer-form, single-camera, location productions. Emphasis on the development of storytelling in narrative and nonfiction production.
  • COM FT 404: Asian Cinema
    Undergraduate Prerequisites: COM FT 360.
    Surveys important and influential films from India, Japan, mainland China, Hong Kong, Taiwan, and elsewhere in East Asia from the 1950s to the present, taking in the work of such directors as Satyajit Ray, Ozu, Mizoguchi, Kurosawa, Zhang Yimou, Tsai Ming-liang, and Wong Kar-wai. The course is designed to make students familiar with foundational styles of realism and fantasy in Asian film and with ways Asian films address changes and evolution in Asian culture and society. The course should help students understand certain traditions in Asian film, and prepare them to engage critically with the ever burgeoning, new, and compelling filmmaking that comes from this part of the world.
  • COM FT 410: Seminar: Television, Culture, and Society
    Using a seminar format and selected screenings, the course constructively explores topics that have given rise to public debate about television. Issues may change from semester to semester but include violence, sexuality, commercialism, stereotyping, children's programs, and specific controversial genres, such as cartoons, action/adventure, and news. Students contribute their own discussion papers and audiovisual materials.
  • COM FT 411: Screenwriting II
    Undergraduate Prerequisites: COM FT 310; Grade of B+ or better in COM FT 310.
    Writing the feature-length narrative film; creation of characters, narrative outline; writing the first draft of an original screenplay.
  • COM FT 412: Screenwriting III
    Undergraduate Prerequisites: COM FT 411; Grade of B+ or better in COM FT 411.
    Writing an original (second) feature-length screenplay (a first draft and set of revisions required). Further study of dramatic structure: tone and rhythm.
  • COM FT 456: Acting for Directors and Writers
    Develops the director's knowledge and understanding of actors --the "human equipment" of filmmaking--through direct acting experience. Students learn the language and tools of the craft through sensory exercises, improvisation, text analysis, and scene study.
  • COM FT 457: American Masterworks
    Subjects vary with the instructor. Directors discussed include D. W. Griffith, Charlie Chaplin, Buster Keaton, King Vidor, Frank Borzage, Victor Fleming, Howard Hawks, Frank Capra, Alfred Hitchcock, John Ford, John Huston, Elia Kazan, George Cukor, Orson Welles, Robert Altman, John Cassavetes, and Woody Allen.
  • COM FT 458: International Masterworks
    Subjects vary with the instructor. Directors discussed include Carl Dreyer, Satyajit Ray, Sergei Eisenstein, V. I. Pudovkin, Jean Renoir, Rene Clair, Andrzej Wajda, Jean-Luc Godard, Michelangelo Antonioni, Federico Fellini, Ingmar Bergman, Akira Kurosawa, Bernardo Bertolucci, and Luis Buñuel.
  • COM FT 465: Hi-Def Production
    Undergraduate Prerequisites: COM FT 402.
    This course allows students to write, shoot, edit and complete a short "film" entirely in the High Definition digital video format. Students use state-of-the-art High Definition cameras and complete the post-production process in the new Ezratti HD Lab created for High Definition editing and screening. The "films" are produced using professional actors and are targeted for film festival entry. A previous project from this class won the First Place prize at the 2009 Redstone Film Festival. 2nd Sem
  • COM FT 468: Production III - Film
    Undergraduate Prerequisites: COM FT 402 and COM FT 403.
    Students apply to the class as director, producer, cinematographer, editor or sound designer. Directors submit scripts for consideration. The film production faculty then selects eight directors, based on the scripts and the student?s previous work. Faculty then selects the producers, cinematographers, editors and sound designers based on their work in FT 403, their ability to work as a team, and their performance in other related classes. The eight directors form production teams to make eight thesis-quality films. Maximum running time for each film is fifteen minutes.
  • COM FT 491: Directed Studies
    Undergraduate Prerequisites: consent of supervising faculty and chairman of the department
    Individual projects; opportunity for advanced students who have completed a major portion of their degree requirements to engage in-depth tutorial study with specific faculty in an area not normally covered by regular curriculum offerings.